Jazzity

Tune Forms

Rhythm Changes

The 32-bar A-A-B-A form of Gershwin's “I Got Rhythm”, the second most commonly played progression in jazz: I-vi-ii-V turnarounds in the A sections and a bridge of dominant 7ths around the cycle of fifths (III7, VI7, II7, V7).

120 BPM
Practice in all 12 keys
  1. C6 I6 Am7 vi7
  2. Dm7 ii7 G7 V7
  3. C6 I6 Am7 vi7
  4. Dm7 ii7 G7 V7
  5. C6 I6 C7 I7
  6. F6 IV6 F♯dim7 ♯iv°7
  7. C6 I6 G7 V7
  8. C6 I6
  1. C6 I6 Am7 vi7
  2. Dm7 ii7 G7 V7
  3. C6 I6 Am7 vi7
  4. Dm7 ii7 G7 V7
  5. C6 I6 C7 I7
  6. F6 IV6 F♯dim7 ♯iv°7
  7. C6 I6 G7 V7
  8. C6 I6
  1. E7 III7
  3. A7 VI7
  5. D7 II7
  7. G7 V7
  1. C6 I6 Am7 vi7
  2. Dm7 ii7 G7 V7
  3. C6 I6 Am7 vi7
  4. Dm7 ii7 G7 V7
  5. C6 I6 C7 I7
  6. F6 IV6 F♯dim7 ♯iv°7
  7. C6 I6 G7 V7
  8. C6 I6

Four-note rootless voicings in their two forms, with the 3rd or the 7th on the bottom, played over the root.

Customize each chord
Meter
4/4
Form
A-A-B-A
Bars
32
Usual key
Bb

Bebop musicians wrote dozens of new melodies over these changes. The A sections spin I-vi-ii-V turnarounds (players often make the vi a VI7 or a #i°7), and the bridge moves through dominants two bars at a time. Practice the A sections as a loop of ii-Vs in Bb, the traditional key, then the bridge with guide tones until you can hear each dominant coming.

Reharmonize Analyze these changes

Variations